Now and Again

 

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The Hillsborough Gallery of Arts is celebrating 10 years as a gallery with a group show including 42 members, past and present. The gallery opened in September of 2006, and the founding 15 members started the gallery as a leap of faith. The artists did not know each other, and they had little experience in running a business. The gallery is now run by 21 members who are equal partners and make decisions by consensus. Featured artist shows, group shows, and juried shows create a strong relationship between the artists and their surrounding community. Now and Again, the latest group show, is the Hillsborough Gallery of Arts’ way of celebrating with all of the talented artists and friends who have made the gallery a success.

Opening Reception

Friday

January 27

6-9

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The Art of Giving

holiday-rgbEach holiday season the members of the Hillsborough Gallery of Arts transform the gallery to showcase original ornaments and hand-made gifts. The gallery’s 21 members work in a variety of media, providing a wide array of art and fine craft for holiday shoppers.

The glass art includes hand-blown vessels, ornaments, solar lights, paperweights, and jewelry. Fiber art on display includes framed collage quilts and hand dyed stitched cloth, knitted scarves; and fabric handbags. The jewelry in the show covers a variety of styles and techniques, from copper and bronze to sterling and fine silver necklaces, earrings, bracelets and rings, some with gold accents and stones.  Visitors will also find metal sculpture, pottery, turned wood, enamels, and carved ironwood with turquoise and silver inlay. Fine art photography, oil and acrylic painting, encaustics, scratchboard, and mixed media work festively surround the three dimensional pieces on pedestals.

Explore the wonderful art exhibited at the Hillsborough Gallery of Arts to find a special gift for that special person.

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Dreaming in Color

Lolette Guthrie

_The Color Of Summer

I am a landscape painter. I work largely from memory so my paintings are reflections on what I experienced at a particular time in a particular place. They are also always paintings of light and atmosphere as I continually strive to capture the ephemeral nature of the light remembered. I begin each piece with a general idea of time and place and then let the painting tell me where and how far to go. It is as though I am observing a conversation between the brush and the paint on the canvas and as a result I am never sure what the end result will be because at some point each piece takes on a life of its own and I just follow along. Long interest in composition, color relationships and the importance of the edges of a piece has led to increasingly spare landscapes and abstracted landscapes.

Skyfire

For “Dreaming In Color” I concentrated on exploring the use of color, especially in the sky, in such a way that it would almost alone give the viewer a sense of space, light, time of day, temperature, and weather. In most pieces the foreground is the accent note. I have also included two abstracted landscapes based on the geography of Ocracoke Island as it sits just below Hatteras Island between the Pamlico Sound and the Atlantic Ocean. They are explorations of the rich summer colors found in the sea and sky and the sound.

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ART from shows

Dreaming in Color

 

 

August postcard RGBAlice Levinson, a textile artist, writes of her experience preparing for the show: “In October, 2015 I participated in the X Florence Biennale in Florence, Italy, an international exhibition of contemporary art. My body of clothworks was awarded the Lorenzo di Medici Bronze Medal in Textile Arts. These works will be among those I will be showing in the DREAMING in COLOR exhibit in Hillsborough. Starting with white cloth, I experiment freely with dye, pigments, and printing techniques to create cloth which is complex in texture and rich in visual interest. The fabric is cut or torn and pieces are mixed and melded as I assemble my work. Each composition is built of successive layering of fabric and thread. I aim to create works that engage the viewer and delight the eye with movement and vibrant color. Raw edges are honored and loose threads purposefully retained. My intuitive work process encourages spontaneity and experimentation. By nature, I am an observer of people and the natural world. Musings, scribbled phrases, and gestural sketches follow. These suggest themes, visual motifs, a palette. My intention in place, I reach for the cloth and then the magic begins. Image, line, and pattern find their way though my hands into the work in a remarkable way. My task is to stay open and responsive to the ‘voice’ of the cloth. ‘Listening ‘ with my hands as well as my eyes, I work to facilitate the creative flow. This isn’t easy, but is always satisfying, and often, surprising.”

Glass artist  Pringle Teetor describes her new work for the show, “Colors, bright and bold run through my work in many variations. The combinations of different metals in some of the glass colors produce spectacular reactions. Many years ago I studied painting and the artist Morris Lewis had a huge impact on my work. Now, I’ve taken this vision into my glasswork applying colors to create bold, irregular stripes on my vessels.  Another use of color in my work is in my incalmo bowl pieces. Incalmo is fusing together multiple glass pieces to make a single vessel. These have to be done very carefully and require a great amount of precision. I’ve combined 4-6 different colors in these vessels to make wide stripes in the bowls – some colors are analogous, others are contrasting to make a bold statement.”

Lolette Guthrie writes, “I am a landscape painter.  I work largely from memory so my paintings are reflections on what I experienced at a particular time in a particular place. They are also always paintings of light and atmosphere as I continually strive to capture the ephemeral nature of the light remembered. I begin each piece with a general idea of time and place and then let the painting tell me where and how far to go. As a result, I am never sure what the end result will be because at some point each piece takes on a life of its own and I just follow along. For Dreaming In Color, I concentrated on exploring the use of color, especially in the sky, that almost alone would give the viewer a sense of space, light, time of day, temperature, and weather.  In most pieces, the foreground is the accent note.”

Opening Reception

Friday August 26

6-9

 

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ART from shows

Grounded

 

Ellie Reinhold

Asked at Grounded’s opening reception what I was thinking when I created a particular painting, I admitted that the creative process behind my new work is fairly nonverbal. Those familiar with my figurative pieces know that words are integral to their birth; they are filled with narrative, metaphor, poetry, emotion and dreams. Not so with my abstracts/landscapes.

This isn’t to say that my landscapes are quiet paintings, usually quite the opposite. Years ago they began as, and often remain, an exercise in intensity: Color! Mark! Texture! Pattern! Mayhem and fray! However, with some of my new work, I feel as though I am finally beginning to step back and see the forest instead of just the trees.

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Certain pieces in Grounded have a quiet about them that is new to my landscapes. I’m still obsessively working with circle and tree forms, still focusing on texture, surface, and mark, but with the exhibit’s larger paintings and my work in progress, I find I’m continually paring back my complex, intense compositions. It plays out as a give and take. I build the imagery, take it away. Build again, take it away. Struggling on the canvas to find a particular balance, to reveal what the painting wants to be.

This struggle can yield an intense surface, but, with the end note of taking away,  a quieter painting, one presenting a more meditative vision. I am pleased to find that by playing at the line between abstraction and representation, these paintings hint at the moving complexity and depth of our experience in nature.
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ART from shows

 

Not Alone

Marcy Lansman

I started the “Not Alone” series two years ago. Looking at an abstract landscape I had painted, I saw, in my mind’s eye, people walking up a hill. In the painting based on that image, the background was light at the top fading to almost black at the bottom, and the figures were silhouetted against that background. Painting it, I started with the figures at the bottom with the idea that this was some kind of forced march. They hung their heads as though burdened with grief. But as I moved upwards, the figures became less beaten down. The last figure I painted was a little girl gesturing to an old man as if to say, “Come on! Let’s go.” That little girl always brought tears to my eyes. She appears in many paintings in the series.

Not Alone

Several other paintings in the “Not Alone” series have similar themes: people move upwards across the page, sometimes alone, sometimes in groups, but always following in each other’s footsteps.

In “Moving on,” the figures seem to be carrying their belongings with them. They appear against a background of bombed out buildings, suggesting that they are refugees fleeing a war zone.

Moving On

In “Help Along the Way” groups of dark figures are guided by lighter figures, as though the memory of a friend or family member or some kind of spirit were guiding them.

Help Along the Way

More than with other work I’ve done, the ideas for these paintings have come to me unbidden. The series title “Not Alone” alludes to the idea that we are all on the same journey. In some ways we are alone, but in many other ways we are accompanied by others and guided by those who have gone before.

 

 

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Our Art is…

_20150603_143610Pat Merriman

When I paint it is always with my favorite themes…this time I have revisited Koi on very different sized panels, 10×30 that allows them to swim up or downstream with glints of gold, unusual fun colors and playful acrylic textures.

_20150603_143127Then there are always one of two Hillsborough or NC scenes.

_20150603_143530And finally I am honoring my love of cooking by painting vegetables, fruits, and cooking scenes from my kitchen, dining spaces or cocktail spaces.

 

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